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Journal articles on the topic 'Photo illustrations and portraits'
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1
Syuderajat, Fajar. "Ideologi Surat Kabar dalam Pemberitaan Terorisme." Communicatus: Jurnal Ilmu komunikasi 1, no. 1 (February 25, 2017): 1–12. http://dx.doi.org/10.15575/cjik.v1i1.1206.
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This paper this study was to determine the ideology of Newspaper Coverage Off Execution Amrozy Cs. on Newspaper Kompas and Republika. The method used in this research is the analysis method semiotics model of Ferdinand de Saussure with a qualitative approach. The results showed that: (a) Option speech text, as well as the news angle images of photographs or illustrations that reproduce the graph becomes a news event is strongly influenced by the ideology of the media is concerned. (B) Compass showing partiality to the international agenda by using the term "terrorists" in its message. This is also strengthened by the news in the form of photo illustrations which only includes figures or portraits of security officers. (C) Republika has a distinctive news angle in reporting the death penalty convicted Bali Bombing Case. They appear at the peculiarities of the text selection, angle coverage, as well as news illustrations are photographs which contains many figures or portraits Amrozi.
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Maurer, Andrey Markovich. "Composite photographic portrait as a tool for visualizing local anthropological variants (using the example of Bashkir men photographic materials)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 5–16. http://dx.doi.org/10.32521/2074-8132.2021.3.005-016.
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Based on individual images of Bashkir men from literary sources (early 20th century) and on the basis of our own photographs of the end of the 20th century, composite photographic portraits (full-face, in profile) were compiled using the "FaceOnFace" computer program. Based on the high similarity of composite photographic portraits, two samples (from the beginning and the end of the 20th century) of initial photographs of Bashkir men were combined into a single corpus (N = 85). Individual photographs corresponding to the descriptions of the South Siberian (N = 40) and Ural (N = 20) minor races were selected from the combined sample of photographs of Bashkir men of the 20th century. Results and discussion. Based on these two subsamples, using digital technologies, 2 pairs of high-precision male composite photographic portraits (full-face and in profile) of Bashkir men were created. They represent the two racial variants prevailing in the region. One pair of photo-generalizations characterizes the softened South Siberian (N = 40), and the other, the sub-Ural (N = 20) anthropological variants. All profile composite photographic portraits of the Bashkirs were obtained for the first time. The phantom image obtained by the method is mentally compared with a certain generalized idea of a particular anthropological version of the known racial classifications. Due to the authorial nature of the various racial classifications, the subjective choice of the «typical», «most characteristic» person (or a short series of faces), presented as an illustration, is also inevitable. Conclusion. The resulting photographic portraits are no less recognizable than the illustrations given in anthropology textbooks: two clearly distinguishable anthropologically variants are visualized that occur in Bashkir populations. This result confirms the deeply entrenched opinion of anthropologists about the heterogeneity and population polytypes of the Bashkir ethno-national community. Both population-typological composite photographic portraits of an ethnic group and a typological digital high precision quality composite portrait, which achieves the effect of "personalization" of a phantom image, are cognitive tools that allow one to assess the biological reality of the existence of human populations with biologically meaningful (adequate) visual means. It is necessary to seek visual means that are isomorphic to the nature of a living, lasting composite.
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Kim, Hoongi. "Visual Metaphor Applied to the ‘Portrait’ of SARS-CoV-2: Focusing on Illustrations and Electron Microscope Photos." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 753–74. http://dx.doi.org/10.33645/cnc.2022.6.44.6.753.
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The purpose of this paper is to compare and examine the metaphorical expressions in the visual materials of SARS-CoV-2. The subjects of this study are two illustrations by the US CDC and a researcher David S. Goodsell, and two electronic microscope photos by the US NIAID and Austrian company Nanographics. The metaphorical expressions and meanings were examined in terms of ‘superimposition (transformation, deletion, addition)’ and ‘replacement.’ The first illustration applied superimposition method such as transformation into a full sphere, omission of the number of M proteins, addition of red color to the S protein, and used replacement method treating the background as a black space. The second illustration used superimposition method such as simplifying the end of the S protein, adding various colors, and replacement method describing the background as a space filled with fancy colors. The first photo of the electron microscope applied superimposition and replacement methods by treating various colors on the scenes of viruses and surrounding components. In comparison, the second photo added only minimal colors to show the most realistic appearance, but the background of the black space left the impression of the virus as a fearful object. Identifying the metaphorical devices can contribute to the improvement of visual literacy by critical thinking ability about SARS-CoV-2.
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Strauss, Johann. "The Great War of the Postcards." Archiv orientální 88, no. 3 (March 15, 2021): 525–68. http://dx.doi.org/10.47979/aror.j.88.3.525-568.
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This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fake views, and the significance and the impact of photographic postcards, portraits, and photo cards. The role of postcards in book illustrations is demonstrated using a typical example (F. C. Endres, Die Türkei (1916)). The specific features of a collection of postcards left by a German soldier who served in Turkey, Syria, and Iraq during World War I will be presented at the end of this article.
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Schwab, Wendell. "Visual Culture and Islam in Kazakhstan: The Case of Asyl Arna’s Social Media." Central Asian Affairs 3, no. 4 (October 3, 2016): 301–29. http://dx.doi.org/10.1163/22142290-00304001.
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Asyl Arna is the most popular Islamic television channel in Kazakhstan and the dominant Islamic media company in Kazakhstan. This article examines how images on the social media pages of Asyl Arna create a way of understanding and engaging in contemporary Islamic life in Kazakhstan. I examine four kinds of images: lists, portraits of authority figures, illustrations or photos of the Qur’an, and images related to a middle-class life with a strongly gendered division of labor. The visual culture of Asyl Arna’s social media promote Islam as an achievable part of a middle-class lifestyle that can provide simple rules for a pious, economically successful life and a connection to the numinous through the Qur’an.
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Kalisz, Katarzyna. "Spuścizna audiowizualna Jerzego Ficowskiego w zasobie Narodowego Archiwum Cyfrowego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 263–69. http://dx.doi.org/10.24917/20811853.16.20.
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Audio-visual legacy of Jerzy Ficowski found in the National Digital Archives The National Digital Archives stores the audio-visual contents of Jerzy Ficowski’s legacy – photos, audio recordings, and films. The most numerous type of data found there are photographs. Many of the photos are representative of Ficowski’s research interests. There are Gypsy photos (especially those taken by him while traveling in Gypsy caravans), Judaica, photos regarding Witold Wojtkiewicz and Bruno Schultz (particularly those taken by Jerzy Ficowski during his stay at Drohobych), photos taken by Ficowski as illustrations for „Karty z raptularza”, portraits and photos of Jerzy Ficowski himself and of his family. As far as audio recordings are considered, there are private records, monologues, radio interviews, Judaica, and recordings of poetry readings. Another important preserved form of Ficowski’s legacy are films of his family, recorded between 1930 and 1936, records of performances, klezmer concerts, poetry readings, video relation of the ceremony of awarding him with the “Man of Borderland” title, and drafts for film of Paweł Woldan “Amulety i definicje” (1998).Key words: audio-visual legacy; legacy; photography; film; audio recordings; Cyganiana; Karty z raptularza; Amulety i definicje;
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Gunalan, Sasih. "Tinjauan Cover Buku Biografi I Wayan Pengsong." Jurnal SASAK : Desain Visual dan Komunikasi 1, no. 2 (November 29, 2019): 65–71. http://dx.doi.org/10.30812/sasak.v1i2.553.
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The development of the world of art and design is one of the major contributors to the emergence of the dynamics of the existing arts. The existence of the development of artistic discourse is not infrequently archived in the form of a book. Biography book is one type of book that contains a record of stories or information about a person's life journey that is arranged systematically. The book as a unit is composed of several constituent elements, one of which is the cover or cover. The unit that compiles the design of a book cover, ideally consists of several elements. Some of them are illustrations, in the form of pictures or photographs and writing (typography). The theory used in this research is Edmund Burke Feldman's fist theory of art. This theory, provides the study of art in several aspects. Such as formalistic, instrumental and expressive aspects. Specifically, this study will discuss all elements of form in a formalistic review. Selection of focus on the formalistic aspect refers to the linkage of formalistic elements with design studies. Another context, in Feldman's study, it refers more to the elements of sociology of art and the things that surround it. The conclusion of this study, is that the cover design of Wayan Pengsong's book has various complex perspectives and is interconnected between the design and the design and style of Pengsong's work that he produces. The use of color and photo illustrations used refers to the philosophical melancholy, calm and the almighty. This color is also one of the many colors used by Pengsong in his paintings. The use of Wayan Pengsong and Wayan Gede's portrait illustrations is a symbol of a unity between Wayan Pengsong and his artistic blood heritage.
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Astakhova, E. V. "On Tatiana Pigariova’s Book <i>Spain from S to N</i>: a Look through the Personal I and Culturological Curiosities." Concept: philosophy, religion, culture 7, no. 1 (March 22, 2023): 167–69. http://dx.doi.org/10.24833/2541-8831-2023-1-25-167-169.
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The newly published book by a well-known expert in Hispanic studies Tatiana I. Pigariova presents a truly personal look on Spain. Its nine chapters, or acts, invite readers to join the author and set off on a fascinating journey across Spain from S to N. The very cover of the book suggests a notion of the adventure the readers are about to treat themselves to. As an art critic T. Pigariova reads deeply into fine art, poetry and historical events and comes up with advanced and original symbolic interpretations. She turns to the art of metaphor elaborated by the masters of Spanish Baroque yet does so with great care: at one time a metaphor highlighting scattered pieces helps outline the entire puzzle, but at times its light can be misleading. One of the most elysian lines and pages of the book are devoted to Diego Velázquez. For instance, the author reflects on what is hidden in his paintings and why his works are at the heart of the Museo Nacional del Prado. This exquisite and gripping reading carries the audience through a gallery of portraits and mysteries. Tatiana Pigariova skillfully navigates archives and museums, leading excited readers to their treasures — artifacts, documents, and photos. Illustrations make the story feel real and so does the dialogue of the author and her readers. As we turn the pages and find ourselves on the streets of nowadays Moscow and Madrid, together with the author we fall in love with Spain, its unique culture and art.
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Kiseleva, N. A. "Deltiological Collection of Pskov Professor Yury Mukhin." Observatory of Culture 15, no. 3 (August 19, 2018): 321–29. http://dx.doi.org/10.25281/2072-3156-2018-15-3-321-329.
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Every year the Pskov State University hosts the International scientifi c and practical conference “Mukhin readings”, which received its name in honor of the Doctor of psychological Sciences, Honorary Professor of the Department of pedagogics and psychology Yury Mikhailovich Mukhin. He would have turned 95 on July 24, 2018. He devoted many years of his life to the search and systematization of art postcards with the images of masterpieces of world art, which he used in scientifi c and pedagogical activities. The famous collection of Y.M. Mukhin includes more than 12 500 postcards; 10 994 of them were donated by the widow of the scientist to the Pskov regional universal scientifi c library (PRUSB), where they are now kept in the Department of literature on culture and art, as well as in the Regional Center for work with rare and valuable documents of PRUSB. The article describes the content and value of this collection, the main part of which is devoted to paintings, but there are series of postcards with graphics, engravings, sculpture, jewelry, arts and crafts, book illustrations and miniatures, photos, etc. The cards represent a wide variety of pictorial genres: portraits, landscapes, still life, as well as historical, military, religious, domestic genre scenes. You can see here the paintings by famous Russian and foreign artists, as well as works of little-known and unknown authors. The presented reproductions demonstrate the values that the world’s largest galleries and museums have, covering historical periods from ancient times to the end of the 20th century, and acquaint with the paintings, on which many generations were brought up. Truly, the collection of Y.M. Mukhin is the pride of the people of Pskov and is the unique encyclopedia of art, the art world in miniature.
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Jubaidi, Ahmad. "ANALISIS KEARIFAN LOKAL BUDAYA TUTUR LISAN SEBAGAI PEREKAT KEBANGSAAN DAN HARMONISASI SOSIAL MASYARAKAT KALIMANTAN TIMUR." DEDIKASI 22, no. 1 (June 7, 2021): 1. http://dx.doi.org/10.31293/ddk.v22i1.5570.
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The purpose of this research is to analyze the existence and role of local wisdom of oral speech culture as the social glue and social harmonization of the people of East Kalimantan. Local wisdom is one of the instruments to reduce or minimize the problems of social conflict, intolerance, radicalism and other forms of violence. One form or form of local wisdom is the local wisdom of oral speech culture as the national glue that has been passed down by our ancestors, the nation's founders as one of the norms, customs and principles in stepping to create calm, peace, glue and harmony in social life and patriotic.The focus of the research, namely: the name of the Local Wisdom of the Oral Culture), the Textual Definition of the local wisdom, the History / Origin of the local wisdom, the description of the implementation of local wisdom in the daily behavior of the community, the Moral Values that are owned / contained from the local wisdom, Evidence in the form of Documents / Photos Portraits as illustrations in life, and the current condition of local wisdom, is it still Live or Live out in the life of the community.The results show the local wisdom of oral speech culture, namely the words of King Senduru when he was crowned the King of Nature can be seen in the Collection of Folk Stories in Kutai, Pemda Kabupaten Kutai, 1977). Moral Value Contained in local wisdom in making decisions should always prioritize deliberation, no one will feel defeated so as to avoid resentment and resentment. Hate and revenge can give birth to the desire to avenge their defeat and this is very bad for the Indonesian people who always prioritize harmony, harmony and unity.Local wisdom is the curse of the Kudungga king. The moral values contained in it are corruption and illegal plunder of the earth since ancient times have been strictly prohibited. So that those who do not heed the curse will have an impact on him either directly or gradually. The local wisdom is still valid today.Local wisdom, said Buen Kesong (Good Heart) from the Paser tribe in Paser Regency, is a source of common strength to harmonize steps in establishing a relationship together. It even illustrates the mystical atmosphere of the people of Paser Regency who have a clean heart in thinking and working, "
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Noy, Chaim. "Staging portraits: Tourism’s panoptic photo-industry." Annals of Tourism Research 47 (July 2014): 48–62. http://dx.doi.org/10.1016/j.annals.2014.04.004.
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Wang, Caroline, and Mary Ann Burris. "Empowerment through Photo Novella: Portraits of Participation." Health Education Quarterly 21, no. 2 (June 1994): 171–86. http://dx.doi.org/10.1177/109019819402100204.
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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 84–96. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235094.
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The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in photography, empirical – study of relationships between female portraits of different times, comparative – comparison of modern and authentic portraits. In the course of cognitive synthesis and generalization of distinctive and similar features of female photo portraits of different times, special features of the female portrait were determined. Scientific novelty. For the first time, the history and formation of female photo portrait from authenticity to the nowadays were analyzed. The analysis was conducted based on photo portraits researches of different times. A detailed analysis of factors influencing the formation of this genre of photography was carried out. With the help of the theoretical analysis, the factors influencing the development of the female photo portrait were determined, its specifics and features were outlined. Conclusions. In the course of the article, we analyzed female portrait in photography and the concept of female beauty in different periods. With the help of the analysis of the history of development and formation of the female portrait photography genre, its role in the art of photography has been established. Peculiarities of female photo portrait as a genre of the art of photography were determined. Its peculiarity and importance have been proved. The factors influencing the concept of female beauty in photography, the development of female portrait and its features have been generalized.
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Bourdeau, Marie. "Tu veux ta photo ?" Hommes & migrations 1345 (2024): 191–96. http://dx.doi.org/10.4000/120pc.
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Dans le cadre de deux résidences en milieu scolaire, la photographe Hortense Soichet a proposé aux élèves de travailler sur leurs objets personnels et leurs portraits en dialogue avec les collections du Musée national de l’histoire de l’immigration, elle les a invités à questionner la représentation de soi.
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Sonstegard, Adam. "“Bedtime” for a Boston Marriage: Sarah Orne Jewett's Illustrated Deephaven." New England Quarterly 92, no. 1 (March 2019): 75–108. http://dx.doi.org/10.1162/tneq_a_00721.
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The illustrations in 1893 edition of Deephaven crosse conventional boundaries, arresting the objectification that is often inherent in portraits and landscapes. Jewett and the illustrators preserve felt lesbian passions as they become portraits' subjects, and produce a kind of queer, visual keepsake album that effectively stops the hands of time.
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Horevalov, Serhii. "The History of Taras Shevchenko’s Photographs: Unity of Words and Pictures (to the 180th Anniversary of Photo Art)." Scientific notes of the Institute of Journalism, no. 1 (74) (2019): 112–23. http://dx.doi.org/10.17721/2522-1272.2019.74.10.
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The article describes the value of photo art in the fate of T. H. Shevchenko – a cult figure of Ukraine. T. H. Shevchenko’s self-portraits are the works of art and simultaneously the artistic documents of the poet. The copies of T. H. Shevchenko’ self-portraits presented to his friends became so-called “Shevchenko Photo Fest” in 1858. The photos of T. H. Shevchenko made an impression on the outstanding creative people of the country and abroad, in particular the outstanding women of that time (M. Vovchok and others). Each of his photographs contains not only historical information about the life of Kobzar, but also plays a greater role in development of photo art in Ukraine. Moreover, it deals with outstanding people of photo art and their photo works. Also it is particularly interesting to note the history of preservation of T. H. Shevchenko’s photographs in Ukraine and other countries.
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Richard, Veronica M., and Maria K. E. Lahman. "Photo-elicitation: reflexivity on method, analysis, and graphic portraits." International Journal of Research & Method in Education 38, no. 1 (April 4, 2014): 3–22. http://dx.doi.org/10.1080/1743727x.2013.843073.
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Zald, Joan Kadri. "Faces of the Homeless: A Photo Essay." City & Community 3, no. 1 (March 2004): 29–41. http://dx.doi.org/10.1111/j.1535-6841.2004.00065.x.
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These portraits were taken in shelters, soup kitchens, transitional housing, and on city streets. The intent was to record the faces of the homeless, capture their humanity, and show the diverse range of people who become homeless. Photographs were also selected to show the different kinds or stages of homelessness: the recently dislocated and the episodically, as well as the chronically, homeless.
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Reaves, Shiela. "The Vulnerable Image: Categories of Photos as Predictor of Digital Manipulation." Journalism & Mass Communication Quarterly 72, no. 3 (September 1995): 706–15. http://dx.doi.org/10.1177/107769909507200319.
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This study suggests that the tolerance of newspaper editors for computer manipulation depends on the category of photographs. Editors differ significantly in their tolerance level of computer manipulation of spot news, feature, and photo illustrations. In a survey experiment among 677 newspaper editors, results suggest that editors use a continuum of photo categories. Editors are intolerant of altering spot -news photos, but much more tolerant of altering soft-news photos such as feature photos and photo illustrations.
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Baker, Robert L. "Portraits of a Public Suicide: Photo Treatment by Selected Pennsylvania Dailies." Newspaper Research Journal 9, no. 4 (June 1988): 13–23. http://dx.doi.org/10.1177/073953298800900402.
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The use of photographs is examined in 91 Pennsylvania dailies' news coverage of the Jan. 22, 1987, suicide of Pennsylvania State Treasurer R. Budd Dwyer. Difference in photo use is compared for large vs. small papers, those in competitive markets, those in markets where television covered the event graphically and those at distances from the victim's hometown. Editor's note: photo examples appear before this article.
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Chumakova, Anna M., Andrey M. Maurer, and Eugene, Kobyliansky. "Intertribal variability of some cephalometric traits in Bedouins of South Sinai and an attempt to visualize it by the method of composite photo portrait." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (August 23, 2023): 52–62. http://dx.doi.org/10.32521/2074-8132.2023.3.052-062.
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Introduction. The article presents the results of the development data on kefalometry of the complex South Sinai anthropological expedition. The purpose was to study the variability of cephalometric traits in South Sinai Bedouins. Objectives: to identify possible phenotypic differences between the tribes, to assess the position of the Bedouin tribes against the background of the Middle Eastern and North African populations according to literary data; to create male composite photo portraits (CPP) from Bedouin tribes Awlad Said and Gebeliya. Materials and methods. Cephalometric data from three tribal samples were used: the tribes of Gebeliya, Muzeina and the combined group "other tribes", which includes data on the Awlad Said tribe. To identify intertribal differences, analysis of variance was applied. Literature data on Middle Eastern and North African samples were used for comparative analysis by the method of multidimensional scaling. To create composite photographic portraits (according to F. Galton´s method), an improved program "Face to face" by Syroezhkin-Maurer (by superposition of three points) was used. Full-face and profile individual Bedouins photographic images from the tribes of Gebeliya (N = 21), Awlad Said t (N=21) and Muzeina (N=19, only frontal) were selected for the work. Results. Statistically significant differences between the Bedouin tribal samples were revealed in such traits as: minimal forehead breadth and mandibular diameter, facial index, height of the lower facial segment and head circumference. Composite full-face and profile photo portraits of Bedouin men of the Awlad Said and Gebeliya tribes, full-face portraits of representatives of the Muzeina tribe were obtained. The results of biometric analysis on the latitudinal traits of the face partly coincide with the analysis of visual information on composite photo portraits. According to the measurement data of the face and head, it was revealed that Bedouin tribes form a compact cluster that differs from neighboring populations. Conclusion. In the male part of the combined Bedouin sample, for a number of cephalometric features, significant intertribal differences were revealed both by statistical methods and visually (when considering full-face and profile male composite photo portraits). It is shown that endogamous Bedouin tribes of the South Sinai Peninsula are very close to each other by a combination of cephalometric traits, and they significantly different from other neighboring populations. The South Sinai Bedouins form a kind of unique aggregation, whose peculiarity, probably, was formed under the influence of certain socio-historical and environmental factors. @ 2023. This work is licensed under a CC BY 4.0 license
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Papp, Júlia. "Illustrations related to Hungary in Siegmund von Herberstein’s publications." Radovi Instituta za povijest umjetnosti, no. 45 (December 31, 2021): 61–76. http://dx.doi.org/10.31664/ripu.2021.45.05.
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The diplomat Siegmund von Herberstein decorated his Russian travelogues and his autobiographical works with several illustrations, including some with references to Hungary. Augustin Hirschvogel created the depictions of the rulers Herberstein visited, as well as the illustrations of his European journeys. However, the rulers wearing ornate fictive armour were not authentic portraits: they were inspired by the woodcuts of Hans Burgkmair the Elder (Genealogy), as well as by the engravings of the Augsburger Geschlechterbuch. Hirschvogel later made busts in the shape of a medallion, which were more authentic, as they were based on paintings, engravings and commemorative coins depicting the rulers. The number of the scenes about Herberstein’ s travels also increased: one genre scene depicted one of his most significant journeys, his visit to Suleiman’ s military camp at the Danube in 1541, after the capture of Buda. The negotiations have two other depictions as well. Herberstein also decorated his biographical publications with six full-length portraits depicting him in the various outfits of an ambassador. He wore one of them during his visit to Buda in 1541, and received another as a gift from Suleiman.
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Cros, Michele. "Bat portraits in times of pandemic." Medicine Anthropology Theory 7, no. 2 (September 8, 2020): 273–84. http://dx.doi.org/10.17157/mat.7.2.726.
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In this Photo Essay, photographs are combined with drawings collected in Burkina Faso in the years following the 2014–2016 Ebola outbreak. Portraits of bats are shown. The blacklisting of these animals following the recommendations of health authorities collides with local realities, where it is not possible to talk about bats in a ‘general’ sense. The same is true today in the period of COVID-19, when chiropterans are once again in the etiological hot seat: bats are behind the pandemic, according to Ridley's shock phrase (2020). In Burkina Faso's Lobi country, between the red and black fruit-eaters (which have always been eaten) and the small insectivores (which have never been eaten as such, but are very useful to animist healers), there is a chasm of representation that is unveiled by these images.
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HIGTON, HESTER. "Portrait of an instrument-maker: Wenceslaus Hollar's engraving of Elias Allen." British Journal for the History of Science 37, no. 2 (May 24, 2004): 147–66. http://dx.doi.org/10.1017/s0007087404005412.
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Among the many engravings of landscapes, buildings, portraits and other illustrations produced by the seventeenth-century artist Wenceslaus Hollar, there are a small number of images of contemporary men of science. Of particular interest is the portrait of the instrument-maker Elias Allen, both because portraits of men of his social status were extremely uncommon at this time, and also because the cluttered mass of instruments shown in the image presents a picture wholly unlike other portraits of the period. The first part of this paper explores the position of portraiture as inherently linked to nobility, and seeks to present an explanation as to why the original oil painting of Allen (made by Hendrik van der Borcht and no longer extant) might have been made. The second part looks at the image itself, and discusses possible reasons for Hollar's production of the engraving some twenty years after the original.
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Butovskaya, M. L., V. V. Rostovtseva, A. A. Mezentseva, and A. Mabulla. "Maasai Identify Male Altruists by Facial Appearance." Experimental Psychology (Russia) 16, no. 3 (October 27, 2023): 7–18. http://dx.doi.org/10.17759/exppsy.2023160301.
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<p>In this experimental study, we continue investigating an association between facial morphology and individual psychological characteristics. The study was conducted in the population of Maasai (Ngorongoro, Tanzania) in two stages during field trips in 2016 and 2021. At the first stage, we collected anthropological photo portraits from 305 individuals (123 women and 182 men) and interviewed them to identify the propensity to help others. Six generalized morphed portraits of Maasai (men and women) were created based on individual propensity to help. At the second stage of the study, portraits were presented to 200 Maasai, men and women from the same population. The portraits were evaluated according to the degree of expression of four qualities: physical strength, proneness to help others, a "good friend", and self-confidence. The results of the study revealed that representatives of the same population are able to distinguish altruistic men by their facial shape. Men who were prone to provide assistance to others were perceived as physically stronger. No such association was found for female portraits. The results are interpreted from the standpoint of evolutionary psychology.</p>
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Fokin, Pavel. "Four Portraits, No Retouching." Неизвестный Достоевский 7, no. 3 (September 2020): 97–113. http://dx.doi.org/10.15393/j10.art.2020.4801.
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Researchers are still raising questions related to the time and place of shooting of certain portraits in the scarce photographic iconography of F. M. Dostoevsky. First of all, this pertains to a set of early photographs, whose dating ranges between 1857 and 1863, according to various sources. The article offers new arguments in favor of attributing several portraits of F. M. Dostoevsky to 1859. This refers to photographs that captured an image of F. M. Dostoevsky that is unusual for most of his admirers, namely, without a beard. Two of them were taken in Semipalatinsk by the photographer S. A. Leibin, while in one of them F. M. Dostoevsky was captured together with the Kazakh educator Ch. Ch. Valikhanov, whom he befriended during the years of his exile. Another photo has not been precisely attributed. A comprehensive analysis of the details depicted on them, the facts of the biography of Ch. Ch. Valikhanov and the letters of F. M. Dostoevsky allows to date the Semipalatisk photographs with greater accuracy. The article proposes that another one of the portraits taken in Tver was carried out simultaneously with the shooting of the portrait of M. M. Dostoevsky. A comprehensive examination of various details and circumstances also leads to the same conclusions. To date, only a few copies of photographs with Ch. Ch. Valikhanov and a photograph allegedly taken in Tver are known. The original solitary portrait made in Semipalatinsk has been lost. The conducted research allows to assert that other copies of these photographs may exist. The proposed conclusions are made on the basis of a study of the originals of photographs in the collection of The V. I. Dahl State Museum of the History of Russian Literature.
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Mersmann, Birgit. "Migrant Portraiture and Life Imaging in Fazal Sheikh’s Photodocumentaries." Imaginations Journal of Cross-Cultural Image Studies/revue d études interculturelle de l image 13, no. 2 (October 30, 2022): 47–78. http://dx.doi.org/10.17742/image.tp.13.2.3.
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This article explores the role of migrant photo portraiture for life imaging by providing a close reading of two photobooks by contemporary photographer Fazal Sheikh – *A Sense of Common Ground* (1996) and *The Victor Weeps. Afghanistan* (1998). Visual storytelling is a core feature of this social and humanitarian photographer’s work, through which two main questions are addressed: how are real-life migration experiences as survival stories and personal biographies inscribed in the portraits of refugees and migrants? Which form(at)s of portraits are chosen, and which practices of portrayal are employed for the purpose of documenting migrant lives? Based on Jean-Luc Nancy’s portrait theory and Giorgio Agamben’s notion of ‘bare life’, the author introduces a process-analytical category of the ‘migrant/refugee portrait’ in order to grasp the complex (de-)figuration processes connected with the sociopolitical issues of human displacement. In Sheikh’s long-term portrayal of migrant/refugee communities and his concept of relational portraiture, she recognizes an effective documentary photo practice for de-othering and demigrantizing the portrait of the migrant as a stereotypical representation of the ‘other’.
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Rawson, K. J., and Nicole Tantum. "Marie Høeg’s worldmaking photography: a photo essay." Journal of Visual Culture 19, no. 2 (August 2020): 184–96. http://dx.doi.org/10.1177/1470412920941899.
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Marie Høeg, who lived from 1866–1949, was a Norwegian photographer and activist for women’s rights. In this photo essay, the authors feature six photographs depicting Marie Høeg in gender transgressive scenes. These photographs are a few of more than 30 that were recovered in the 1980s from a property where Høeg once lived with her female partner, Bolette Berg. Standing out from the traditional landscapes and portraits that were common for the professional studio of Berg & Høeg, these photographs provide a glimpse into Høeg’s playful self-expression at the onset of the 20th century. This photo essay explores not only the documentary value of these images, but also the important considerations of visibility, privacy, and the ethics of circulation that they elicit.
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Léon, Véra. "La querelle des photo-filmeurs." Photographica, no. 2 (May 3, 2021): 130–46. http://dx.doi.org/10.54390/photographica.468.
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À la fin des années 1940, les photo-filmeurs se multiplient dans les rues des villes, photographiant les passants pour leur vendre leurs portraits. Or cet essor est combattu tant par les syndicats de photographes établis, qui considèrent ces nouveaux venus comme des concurrents déloyaux, que par les pouvoirs publics qui font surveiller leurs activités par la police. À partir d’une étude de cas, cet article analyse les enjeux du conflit et brosse le portrait des acteurs incriminés. En articulant différentes échelles d’analyse, de la trajectoire individuelle à la stratégie collective, des mesures locales aux débats nationaux, il montre que cette querelle est au cœur d’une redéfinition du groupe des photographes : elle est un marqueur de la mutation de leur fonction sociale, économique et symbolique. Enfin, la démarche, croisant histoire sociale et sociologie du travail, met en évidence la dynamique de professionnalisation instiguée par les syndicats, en même temps que son échec. Malgré ces tentatives, les délimitations du groupe des photographes professionnels restent poreuses en France, et ce jusqu’à aujourd’hui.
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Rowley, Alison. "Portraits of Putin ‐ An installation reflecting on his twenty years in power and his presence in the global public sphere." Journal of Arts & Communities 12, no. 1 (June 1, 2021): 57–84. http://dx.doi.org/10.1386/jaac_00023_3.
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This photo essay describes an installation created to mark the twentieth anniversary of Russian President Vladimir Putin’s ascension to power. The portraits ‐ made by seventeen different artists ‐ offer a strong commentary about one of the world’s most powerful figures, about the performance of politicized masculinity, and about the power of craft to contribute to contemporary political discourse.
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Mader, Brandon, Martin S. Banks, and Hany Farid. "Identifying Computer-Generated Portraits: The Importance of Training and Incentives." Perception 46, no. 9 (June 22, 2017): 1062–76. http://dx.doi.org/10.1177/0301006617713633.
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The past two decades have seen remarkable advances in photo-realistic rendering of everything from inanimate objects to landscapes, animals, and humans. We previously showed that despite these tremendous advances, human observers remain fairly good at distinguishing computer-generated from photographic images. Building on these results, we describe a series of follow-up experiments that reveal how to improve observer performance. Of general interest to anyone performing psychophysical studies on Mechanical Turk or similar platforms, we find that observer performance can be significantly improved with the proper incentives.
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Allen, Joseph R. "Picturing Gentlemen: Japanese Portrait Photography in Colonial Taiwan." Journal of Asian Studies 73, no. 4 (November 2014): 1009–42. http://dx.doi.org/10.1017/s0021911814000990.
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This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits of politically and economically influential (almost exclusively) men. Bringing these considerations together suggests an aspect of the colonial ideological machinery that has been underrepresented in other studies: the colonial portrait as a mask in several forms.
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Halpern, Rick. "Markets and the Making of Muslim Space in Urban China: Street Portraits from Xi'an's Huimin Jie." Gastronomica 19, no. 2 (2019): 71–79. http://dx.doi.org/10.1525/gfc.2019.19.2.71.
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This photo essay explores the Muslim Quarter, or Huimin Jie, in the central Chinese city of Xi'an located in Shaanxi Province. It focuses on street life and the vendors who sell a variety of foodstuffs from open-air stalls and shop fronts. The ten black and white street portraits included in the piece convey the Muslim character of this neighborhood as well as its youthful vibrancy.
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Brečević, Geska Helena, and Robert Brečević. "Verfünfungseffekt: Delving into the Enchanted World of Fivefold-portraits and Self-partitioning." Magic, Vol. 5, no. 1 (2020): 66–71. http://dx.doi.org/10.47659/m8.066.ess.
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Discovered during a media-archeological investigation into optical illusions, trick photography, and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph. It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also – due to the unforeseen spread of a recently mutated virus – the prevailing circumstances under which the work was to be completed. In Verfünfungseffekt, we use the medium of video to create a kaleidoscopic portrait-in-motion where the perspective-shifting shards of ego are recorded in a synchronized performance of solipsist intersubjectivity. The video-multigraph allows for the compositing of tiny offsets in time-shifting delays applied to one, or several, of the mirrored selves – shattering the cloned perfection, as well as the conformity, of the multiple presences. This optical illusion necessitates reflection on how media alters our perceptions of time and space; it thereby arouses wonder about our place in existence. Keywords: Photo-multigraph, fivefold-portrait, mirror photography, video-multigraph, crisis of presence
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Wade, Nicholas J. "Receptor Visionaries." Perception 47, no. 8 (May 17, 2018): 833–50. http://dx.doi.org/10.1177/0301006618775896.
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Sensory receptors were described and illustrated after they had been observed with the aid of microscopes. Most descriptions were made in the 19th century after the introduction of achromatic lenses in microscopes. In some senses (like vision), receptors were named according to their morphology whereas in others (like touch), they are known by the names of those who initially described them. Illustrations of the receptors from original sources are here combined with portraits of their originators.
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Jang, Sunhee. "How to see the South African black people in Santu Mofokeng’s image-text archive?" Arte, Individuo y Sociedad Avance en línea (April 8, 2024): 1–17. http://dx.doi.org/10.5209/aris.92751.
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South African artist Santu Mofokeng’s The Black Photo Album—Look at Me: 1890–1950 (1997) displays black people’s photographic portraits and text through a slide projection. For this archive project, he collected, restored, and re-contextualized the old portraits and added text. The presented figures depict the black South Africans who lived at the end of the nineteenth century. Most of them are well-dressed and take a pose in a European studio. Different from the well-prepared photographic representation, pieces of text include a disorder of alphabets, varied size of letters, inconsistent ground color, and misprinting effect. In a sense, the ambivalent mode of images and text seems to appeal the black people’s inner conflicts between being modernized versus colonized. In fact, Mofokeng once said that such a middle-class of black people did not exist in his education. Thus, this research analyzes the ways in which intertextuality of images and text in The Black Photo Album fills with the incomplete part of South African history. Reconsidering the functional limits of the TRC(Truth and Reconciliation Commission, 1995) in South Africa, this research argues that Mofokeng’s archive project delivers emotions of memories of the black people, which were not registered in the nation’s history.
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Buraeva, Svetlana. "PHOTO CHRONICLE OF THE SCIENTIFIC LIFE OF THE BURYAT INSTITUTE OF SOCIAL SCIENCES ON THE ARCHIVAL MATERIALS OF THE TSVRK (1970–1980S)." Culture of Central Asia: written sources 13 (December 16, 2020): 128–42. http://dx.doi.org/10.30792/2304-1838-2020-13-128-142.
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The article presents the results of the search, identification, attribution and systematization of photographic materials on the history of academic science in Buryatia in 1970s – 1980s. Several blocks of images are highlighted – portraits (individual and group), official photo chronicle of meetings and events, photographs from expeditions, unofficial meetings. The characteristics of paleographic features of some photographs and albums are given. The differences in the methods of recording field-work results of different periods are determined.
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Pretorius, Deirdre. ""Speak to a community audience": The Staffrider illustrations of Mzwakhe (Muziwakhe Nhlabatsi) 1979-1987." Image & Text, no. 37 (April 26, 2023): 1–37. http://dx.doi.org/10.17159/2617-3255/2023/n37a1.
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The South African literary and arts magazine Staffrider (1978-1993) is known for its Black Consciousness stance and the contribution it made in the struggle against apartheid. From its inception the magazine contained illustrations, photographs, artwork and graphics alongside prose, poetry, plays, essays and reports, and for nearly a decade illustrations signed by 'Mzwakhe' appeared frequently. Mzwakhe, the pen-name of Muziwakhe Nhlabatsi, contributed a sizeable number of illustrations to accompany the writing of several notable South African authors. This article offers a discussion of his illustrative contribution to Staffrider in the period from 1979 to 1987 in the context of Black Consciousness as a counter to hegemonic apartheid discourse. I discuss Black Consciousness and the 'Black Consciousness Aesthetic' (Hill 2018) in relation to his illustrations, point out the reciprocal relationship between his educational work for the South African Committee for Higher Education (SACHED) and his cartoons and comics for Staffrider and describe his portraits and the influence of African masks on his work. Staffrider presented the opportunity for a counter discourse to the official apartheid narratives to be published (Manase 2005:70) and I argue that Nhlabatsi contributed to this counter discourse through his illustrations which visualised Black Consciousness in a variety of styles and techniques and the humanity, beauty and dignity with which he rendered most of his subjects.
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Doherty, Meghan C. "Discovering the ‘true form:’ Hooke's Micrographia and the visual vocabulary of engraved portraits." Notes and Records: the Royal Society Journal of the History of Science 66, no. 3 (July 4, 2012): 211–34. http://dx.doi.org/10.1098/rsnr.2012.0031.
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This essay uses Robert Hooke's Micrographia to examine the intersection of visual conventions for portraiture with the viewing of the microscopic world. In the preface to his Micrographia , Robert Hooke asserts that he has discovered ‘a new visible World’ through the help of newly invented optical devices that add ‘artificial Organs to the natural’. I claim that Hooke was also aided by the visual vocabulary developed by engravers for translating a three-dimensional world into a two-dimensional representation of it, and that his awareness of these conventions sets his illustrations apart from his predecessors.
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Martynova, Daria O. "VISUAL REPRESENTATIONS OF PSYCHOPATHOLOGIES: EXAMPLES AND PROBLEMS OF STUDY." Articult, no. 2 (2021): 49–56. http://dx.doi.org/10.28995/2227-6165-2021-2-49-56.
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The article is devoted to a retrospective analysis of the causes of the appearance of representations of mental diseases in the visual field and the problems of visualization of pathologies on the example of cases and artworks of the XVIIIth and XIXth centuries. The problems and points of interaction between art and psychiatry are touched upon, the reasons for the appearance of psychiatric illustration, the commonwealth of psychiatry and photography, and the genre of medical portraits are analyzed. As a result, it can be concluded that psychiatric photography, medical portraits and psychiatric illustrations inherited previously existing aesthetic and representative traditions, as well as cultural and historical ideas about mental diseases, which in turn gave rise to symptoms. Such a visual “dead end” has created a problem of representation, which also exists in contemporary art. Thus, the “objective” representation of psychopathologies in art is still problematic and requires analysis and search for solutions.
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Komilova, Yorqinoy. "The Expressions of Political Portraits in Mass Media: Foreign and National Experience." International Journal of Multicultural and Multireligious Understanding 10, no. 12 (December 22, 2023): 471. http://dx.doi.org/10.18415/ijmmu.v10i12.5461.
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This scientific essay examines the notion, genesis, development, and hierarchical stages of political portraiture. An analysis was conducted on the communication between political leaders, the state government, and the public, as portrayed in printed and online sources. The materials published in Uzbek and foreign publications analyze the author’s use of first–person perspective, writing style, abilities, intellectual approach, and emotional approach. The expression of the place, role, position, perspective, ability, and “image” of political individuals in the political sphere is conveyed. The author provides illustrations of democracy, impartiality, truthfulness, and popularism principles, as well as the efficacy of the sources. The theory of journalism examines the comparative study of methodological approaches in the genre of political portraiture.
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Blaney, Aileen. "Photographic art and technology in contemporary India." Philosophy of Photography 10, no. 1 (April 1, 2019): 23–40. http://dx.doi.org/10.1386/pop_00004_1.
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Abstract The algorithmic turn in photography raises the question of whether an algorithmically generated image is even a photograph at all. This paradox is abundant on India's urban streets, where the pedestrian or road user is met with giant photo saturated flex hoardings printed with political and community messages and photo-shopped portraits of gods, chief ministers and party workers. In this article, attention to photo-based political posters alongside art practices sharing common elements of digital capture and postproduction contextualizes a reading of technologically produced visual landscapes in the South Indian city of Bangalore. Informed by Vilèm Flusser, the techno-materiality of hoardings are interpreted as visual practices whose reliance on Microsoft and Adobe softwares reveal more than the semiotic information that is ostensibly transmitted; in so doing the extent to which photography is a useful entry point for assessing the visuality in which we're currently living and how this gets locally inflected in the case of India is explored.
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Sett, Alisha. "Photo Circle: A Short History of the Nepal Picture Library." Cabinet, Vol. 2, no. 2 (2017): 56–69. http://dx.doi.org/10.47659/m3.056.art.
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This is a short history of the Nepal Picture Library (NPL), Nepal’s first large-scale digital photo archive encompassing over 50,000 photographs collected in less than a decade. It is a rare institution; a catalogued visual resource open to the public with scores of intimate family collections, the historic and the mundane captured over decades by photojournalists, and portraits made in photo studios across the country. The essay provides insight into the strength, scope and potential of this community-created archive. Founded and managed by Photo Circle, a platform for photography in Kathmandu, NPL has published books, done several exhibitions in museums and public spaces across Nepal, and exhibited their collections internationally. Tracing the origins and the impact of NPL through a series of interviews, the essays reveals not only the transformative power of their methods of public engagement but also the deep concern for visual culture fostered in their volunteers particularly among photographers serving as amateur archivists. Keywords: archive, Kathmandu, Nepal, oral history, public history
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Heđbeli, Živana, and Nikola Mokrović. "Managing a Photograph Collection: ARKzin photo archive Case Study." Atlanti 25, no. 1 (October 19, 2015): 131–40. http://dx.doi.org/10.33700/2670-451x.25.1.131-140(2015).
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Paper deals with whole process of organization of photo documentation produced by magazine ARKzin. ARKzin was published from 1991 to 1998 and first existed within the Antiwar Campaign Croatia, a network of peace, antiwar, and human rights groups, and later became independent subject. Collection of photographs consists of around 1500 items, taken from different authors, with some of them later becoming well-known photographers, and covers many subjects: protests, war atrocities, portraits of people interviewed for ARKzin, various social events, and graphics. The collection itself is valuable overview of social and political situation in Croatia in the nineties. The collection was transferred from ARKzin as creator to Documenta in 2011, with the aim of identification of items, organization and digitization, and publishing on virtual archive on the Internet. The paper is presenting the challenges of collection management in both physical and virtual environment, with emphasis on physical organization of the collection.
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Wade, Nicholas J. "Helmholtz at 200." i-Perception 12, no. 4 (July 2021): 204166952110223. http://dx.doi.org/10.1177/20416695211022374.
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Hermann von Helmholtz was born 200 years ago, but his influence on vision research is enduring. His legacy in vision is celebrated visually with anaglyphs that combine portraits of him with illustrations from his publications. Emphasis is directed principally to his Treatise on Physiological Optics. Among the optical instruments Helmholtz invented were the ophthalmoscope, ophthalmometer, and telestereoscope. Mention is made of his investigations into accommodation, colour vision, eye movements, stereoscopic vision, binocular rivalry, and lustre. Helmholtz also presented his analyses of vision and art in several of his Popular Lectures.
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Smagina, G. I. "A. YA. Kolpashnikov, an academic engraver." Вестник Российской академии наук 89, no. 6 (June 21, 2019): 615–20. http://dx.doi.org/10.31857/s0869-5873896615-620.
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To commemorate the 275th anniversary of his birth, this paper presents a biography of Alexey Ya. Kolpashnikov (1744–1814), a copper-plate engraver, whose work was closely associated with the St. Petersburg Academy of Sciences. The main stages of this outstanding craftsman’s professional life are considered in the broader context of the history of one of the oldest departments of the Academy – the Engraving Chamber. His illustrations supporting numerous scientific writings contributed to popularizing Russian scientific achievements, and his portraits of statesmen and scientists became a noticeable phenomenon of Russian art.
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SHIN, CHORU, and KEE-JEONG AHN. "Camioleum choi, a new species in the omaliine tribe Anthophagini (Coleoptera: Staphylinidae) from Korea." Zootaxa 1227, no. 1 (June 9, 2006): 57. http://dx.doi.org/10.11646/zootaxa.1227.1.3.
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Camioleum choi Shin & Ahn, new species (type locality: Mt. Odaesan, Korea) is described, and habitus photo and line illustrations of diagnostic features are provided for its recognition. The differences between C. loripes Lewis and C. choi are discussed.
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Laing, Ellen Johnston. "Picturing Men and Women in the Chinese 1911 Revolution." Nan Nü 15, no. 2 (2013): 265–316. http://dx.doi.org/10.1163/15685268-0152p0003.
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In the late nineteenth and early twentieth century many Han Chinese, under the leadership of Sun Yatsen (1866-1925) and others sought to overthrow the Manchu Qing dynasty. This movement culminated in the Revolution which began in October 1911 and ultimately deposed the Qing imperial household, permitting the establishment of a republican government. As the Revolution progressed, the commercial popular print business, through inexpensive lithographs and woodblock prints, provided citizens with illustrations of important events in the Revolution, as well as portraits of male and female participants. Modern commentary on these prints identifies the subjects depicted, but neglects the artistic elements. To fill this gap, this study examines the artistic aspects of these prints and reveals that the source of the compositional formats lies in well-established formulae, some of which go back to the eighteenth century. For specific portraits of male participants in particular, print designers often relied on current photographs, thus melding old and new. For representations of female military participants, print designers, mostly eschewing photographs of them, provided imaginary portraits, some of which are based on depictions of anonymous women, again, already a part of the print legacy. The prints frequently feature two military women famous at the time, one real (Cao Daoxin) and one fictional (Xu Wuying); this essay explains how and why images of them were so widespread in the popular print media.
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Yi, Seong-Yong. "A Study on the Analysis of Korean Language Textbook’s Illustrations in Special Elementary School." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 14 (July 31, 2023): 145–60. http://dx.doi.org/10.22251/jlcci.2023.23.14.145.
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Objectives The purpose of this study was to analyze the Korean language textbook’s illustrations of the special elementary school and provide basic data on illustrations when developing textbooks in the future. Methods Six special elementary Korean language textbooks were collected and a total of 1,668 pages were analyzed. The analysis tool was used by creating a frame with formal aspects(number, type, size, arrangement, clarity) and content aspects(role, suitability, and content consistency). Results First, the number of illustrations contained more than one illustration on each page. Second, paintings were the most common types of illustrations. Third, the 1st and 2nd graders and the 3rd and 4th graders were the most common 1/16-sized illustrations, and the 5th and 6th graders were the most common 2/3-sized illustrations. Fourth, by arrangement, many illustrations were placed below in the 1st and 2nd grades, at the center in the 3rd and 4th grades, and above in the 5th and 6th grades. Fifth, the clarity was very high. Sixth, data provision was the most common role of illustrations. Seventh, in terms of illustration suitability, there were the most essential functions. Eighth, the content consistency was very high. Conclusions It was discussed and suggested to increase the illustrations budget, increase photo illustrations, and improve the quality of illustrations when developing textbooks in the future.
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Kyazimov, T. G., and Sh Dzh Mahmudova. "The effectiveness increase of a system of automatic biometrical identification based on photo portraits." Automatic Control and Computer Sciences 45, no. 2 (April 2011): 106–12. http://dx.doi.org/10.3103/s0146411611020027.
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